In this study I research and reflect on my way to embellish music from the baroque. I focus on Georg Phillipe Telemanns music. I work with embellishments in the second movement (Larghetto) from Solo X, Essercizii musici (Hamburg (1740)) for recorder and basso continuo (TWV 41:C5). I try diffrent versions to embellish this movement. I record these versions and enclose a score with all diffrent versions. I do these versions after I have worked with diffrent bakground information connected to this movement. What is it that affects my embellishments? One question is how does Telemann do in his Sonate metodiche? What does this mean to me? Do I want to copy Telemanns way of embellishing? / <p>Jana Langenbruch - blockflöjt</p><p>Elin Nilsson - barockfiol</p><p>Sandra Marteleur - barockfiol</p><p>Andrea Ravandoni - barockviola</p><p>Stina Petersson - barockcello</p><p>Sarah Nygren - barockkontrabas</p><p>Marcus Mohlin -cembalo</p><p></p><p>Musik:</p><p>Nicola Fiorenza (efter 1700 - 1764) Konsert i a-moll Grave, Allegro, Largo e staccato, Allegro assai</p><p>Georg Philipp Telemann (1681 - 1767) Konsert i C-dur - TWV 51:C1 Allegretto, Allegro, Andante, Tempo di Minuet</p><p></p><p>Inspelningar Larghetto ur TWV 41:C5: Jana Langenbruch - blockflöjt (2014)</p>
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:kmh-1735 |
| Date | January 2014 |
| Creators | Langenbruch, Jana |
| Publisher | Kungl. Musikhögskolan, Institutionen för klassisk musik |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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